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A furious Babylonian Princess subjugates Toronto Toronto
Four Seasons Centre for the Performing Arts
10/07/2024 - & October 13, 17, 19, 23, 25, 2024
Giuseppe Verdi: Nabucco
Roland Wood (Nabucco), Mary Elizabeth Williams (Abigaille), Simon Lim (Zaccaria), Matthew Cairns (Ismaele), Rihab Chaieb (Fenena), Charlotte Siegel (Anna), Wesley Harrison (Abdallo), Duncan Stenhouse (Il Gran Sacerdote)
Canadian Opera Company Chorus, Sandra Horst (chorus master), Canadian Opera Company Orchestra, Paolo Carignani (conductor)
Katherine M. Carter (stage director), Michael Yeargen (sets), Jane Greenwood (costumes), Mikael Kangas (lighting)
R. Wood, M. E. Williams (© Michael Cooper)
Early Verdi operas are of variable quality. Some, such as Oberto (1839), Un giorno di regno (1840) and Alzira (1845) are forgettable. Two works, Ernani (1844) and Macbeth (1847) are masterpieces. Verdi’s third opera, and first hit, Nabucco (1842), is somewhere in between. It remained in the repertoire due to the popularity of the famous chorus of Hebrew slaves “Va pensiero”. Some dramatic passages are quite effective, such as Abigaille’s Act II aria “Anch’io dischiuso un giorno,” Nabucco’s Act IV aria, “Dio di Giuda!” and the Act III duet between Nabucco and Abigaille, “Donna chi sei”.
For a production of Nabucco to be successful, it is essential to engage two first‑rate singers to portray Abigaille and Nabucco. In the present production, British baritone Roland Wood was an excellent choice as Nabucco. Endowed with a beautiful velvety voice, he was also an excellent actor, and performed expressively and movingly, especially in the passages where his vulnerability was on display, such as the scenes where the powerless father is unable to help his beloved daughter Fenena. His “Dio di Giuda!” scene, where he converts to Judaism, was truly moving. Part of his success is due to Italian conductor Paolo Carignani’s subtle conducting of that scene, which lessened the um‑pa‑pa beat that plagues much of early Verdi. He was astounding in his Act III scene with Abigaille, “Donna chi sei...Oh di qual onta aggravasi questo mio crin canuto”, where he’s crushed into submission by his adoptive daughter and forced to sign a decree to massacre the Jews.
American soprano Mary Elizabeth Williams stepped in to replace an ailing colleague. Not many singers can sing this extremely demanding role. It is alleged that the role of Abigaille took its toll on Verdi’s lifelong companion Giuseppina Strepponi’s voice, to the point that it prematurely ended her career. The legendary Greek-Argentinian Elena Suliotis is a more recent victim of this role. Astounding the opera world with her Abigaille in the mid‑sixties, her career was basically over within five years. But Williams is a fearless and unusual singer, specializing in soprano drammatico roles, though one could argue this may not be her natural Fach. Severely contested as Isolde in Paris last season, she has an odd technique that some view as the opposite of bel canto, accentuating volume at the expense of a smooth and polished vocal line. To some, many of her high notes sounded like shrieks. To others, they were phenomenal, especially as she is a talented and charismatic actress with overwhelming stage presence. I tend to be in the former camp. I was riveted by her temperament but disturbed by the precarious quality of the voice. However, most of the Toronto public was in the latter camp, as confirmed by the huge applause she received at the end of the show.
South Korean Simon Lim was a more than adequate Zaccaria, at least vocally. His acting, however, was monochromatic. He failed to arouse the audience and he lacked charisma. In the smaller roles of Fenena and Ismaele, Rihab Chaieb and Matthew Cairns were a luxury. Both have beautiful, lyric voices and excelled in the Act I duet, which eventually becomes a trio with Abigaille. Tunisian-Canadian mezzo Rihab Chaieb was the most notable vocalist of this production. This was the first time I had seen the character of Fenena exude such charisma. Watch out for this young singer, she will go quite far!
In today’s opera scene, many complain of outrageous “modern” productions which often distort the drama of the opera. Katherine M. Carter’s production, borrowed from Chicago, is a throwback to opera as I remember from my childhood: no provocative ideas, and a mundane scenic accompaniment. This blast from the past is not my favourite kind of staging. While I detest absurd changes, especially when they undermine the plot and drama, nothing beats innovative staging from the likes of Robert Carsen or Damiano Michieletto. The conservative Toronto public was not offended by Carter’s bland staging. Indeed, most opera lovers go to hear glorious voices above all else.
As bland as the production was, Carter knew how to move the crowds in this opera, which features congested scenes with Hebrews and Babylonians. The one effective set was Act III, where Abigaille ascends the stairs to reach the throne, usurped from her father. When the diminished Nabucco comes to plead with her at the foot of the staircase, his weakness is further accentuated by the distance between him and Abigaille.
Jane Greenwood’s costumes were not an attempt at authenticity: the Hebrews in captivity looked like paupers in rags, and the Babylonians looked like a hybrid between Tuscan Renaissance and sci‑fi. Nonetheless, the costumes were visually pleasing.
It must be noted that Nabucco is an important opera in Verdi’s œuvre, not only for being his first hit. At a time when bel canto was still the style of the day, it had the distinction of rendering the love story secondary, thus accentuating the dramatic side. This concept was repeated in two other Verdi-Solera collaborations: Giovanna d’Arco (1845) and Attila (1846). It was also new in the age of bel canto to have the chorus play such a prevalent role.
Thankfully, the Canadian Opera Company Chorus was exceptionally well‑rehearsed by their director Sandra Horst. Their rendition of “Va pensiero” was possibly the best I have ever heard, full of sad longing and poise, and devoid of surplus pomp. The diminuendo at its closing was splendidly delicate. Congratulations to both Sandra Horst and conductor Paolo Carignani for such splendid results.
Ossama el Naggar
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